The brighter the light, the darker the shadow

Jackobest

I’m in Dalston to meet the illustrious Sophie Wilson, the self-styled ‘Curatrix’, whose Pharos Gallery is taking on the world of commercial art and mixing it with the raw energy of the people. Inspired by the collective efforts of Warhol’s factory and yet driven by a business brain, her holistic approach makes Pharos something far bigger than the sum of its parts.

I admit, I was sceptical. This meeting could’ve been something horribly pretentious, skulking in the shadows of the East London art scene. But my cynical eye is left wanting. There are no skinny-jeaned types loitering around for the free wine. There’s not even any asymmetric hair cuts to extol me on the existential merits of a blank canvas. It’s something else. It’s not quite the left-field student shows where everyone drinks but no one buys, and it bypasses the clinical nature of the commercial world. This is something in between.

And then there’s Sophie.

Everyone is here because she has inspired them. She founded the collective in 2007 after an MA in curatorship and hard drudge in the commercial world led more to frustration than fulfilment. She craved something different.  “Basically Pharos is a project to get artists launched in the commercial sphere, but at the same time, allowing them to hang their work in arresting, themed shows in site-specific contexts” she says.  “Sure, West End Galleries get works sold, but I find the spaces are clinical, a bit like shops. And I go to East End shows all the time which are gritty and interesting, but no one seems to make any money from them.” Pharos aims to combine the two worlds – creating exhibitions that appeal to both artist and buyer.

But it also functions as more than that – as Sophie states: “it’s a collaborative effort, a halfway house: a space where art makers can be nurtured, mentored and inspired. At its basic level it’s a bunch of incredibly talented and motivated people who want to help each other out.” I’m quietly gutted I’m not an artist.

I chat to Lucy May, a sculptor who makes seductive and amorphous structures from beads, flowers and ‘feminine tat’. Then there’s Eva Lis, an enigmatic Polish artist, whose recent work included exhibiting inside a gypsy caravan which she hitched to a horse and drove around the M25.

The main purpose of the meet-up tonight is to discuss Pharos Gallery’s inaugural show – which is shaping up to be something special. Drawing on the contrast between Pharos (named after the great lighthouse, one of the seven wonders of the ancient world) and the stygian qualities of the chosen works, the exhibition explores darkness and light.
Chiaroscuro will show the work of 17 artists, working across a variety of disciplines: painting, sculpture, photography, installation and drawing. The show promises to have something for everyone – ideal to find the Christmas gift for the person who has everything. And that’s all it is – fabulous work hung against the grungy backdrop of the warehouse space in Ada Street in which the exhibition will take place. Pharos remains firmly rooted in the East London scene where it was conceived. That’s the art in the ethos. If it can stay true to its roots, Pharos will grow as a collective, attracting and nurturing talent from within.

But for now, something exciting is happening on my doorstep. I walk home feeling energised by the possibilities that I’ve seen.

Chiaroscuro, 12th -14th December
Private View: 11th December
2a Ada Street London E8 4QU

For more information, check out
www.pharosgallery.com